A film poem that records frameworks and unexpected effects on the water and sky of Bahia. "Heaven on Water" takes to the waters of Impressionist Arembepe, shows us a pregnant woman, a child and nature. "It's the film that I know more hippie, perhaps the only one." (Rubens Machado). Precursor of Tropicalismo, writer and filmmaker, Jose de Paula Agrippina was a genuine representative of the counter, leaving it entirely up to the Brazilian cultural scene.

He is not among the stars of Tropicália is not often remembered when it is this movement that turned the inside of the Brazilian cultural scene of the late of 1960. But Agrippina José de Paula was there. In fact it was one of the first to arrive. And, unfortunately, one of the first to leave. The writer lived what could be called the peak until the following decade and then shifted the way to life, robbing him with a diagnosis of schizophrenia, the clarity and contact with the real world. Author of PanAmérica (1967), the book that illuminated the head of Caetano Veloso just before Tropicalismo, Agrippina spent much of life alone in a house in Embu, without radio, television, phone, anything that connects you to someone or to what they were. Just him, it was an antenna.

The journalist and editor Sérgio Pinto de Almeida, at the launch of the third edition of PanAmérica in 2001 by Editora Papagaio, was one of the few who had contact with the writer shortly before his death on July 14, 2007. "It was sad and melancholic view it in that state, the conditions were very poor," says the editor, now responsible for the manuscripts of…

A film poem that records frameworks and unexpected effects on the water and sky of Bahia. "Heaven on Water" takes to the waters of Impressionist Arembepe, shows us a pregnant woman, a child and nature. "It's the film that I know more hippie, perhaps the only one." (Rubens Machado). Precursor of Tropicalismo, writer and filmmaker, Jose de Paula Agrippina was a genuine representative of the counter, leaving it entirely up to the Brazilian cultural scene.

He is not among the stars of Tropicália is not often remembered when it is this movement that turned the inside of the Brazilian cultural scene of the late of 1960. But Agrippina José de Paula was there. In fact it was one of the first to arrive. And, unfortunately, one of the first to leave. The writer lived what could be called the peak until the following decade and then shifted the way to life, robbing him with a diagnosis of schizophrenia, the clarity and contact with the real world. Author of PanAmérica (1967), the book that illuminated the head of Caetano Veloso just before Tropicalismo, Agrippina spent much of life alone in a house in Embu, without radio, television, phone, anything that connects you to someone or to what they were. Just him, it was an antenna.

The journalist and editor Sérgio Pinto de Almeida, at the launch of the third edition of PanAmérica in 2001 by Editora Papagaio, was one of the few who had contact with the writer shortly before his death on July 14, 2007. "It was sad and melancholic view it in that state, the conditions were very poor," says the editor, now responsible for the manuscripts of the author, "brought together more than 150 notebooks. "But Joe was calm." The rest of the collection (movies, texts and pictures) is the video Lucila Meirelles, who directed PanAmérica Symphony (1988), documentary on the work of Agrippina.